On May 24, 1918, in the serene setting of Santiniketan, Rabindranath Tagore at 49, penned a poignant composition, “Ei korechho bhalo, nithuro hey”. This Rabindrasangeet, categorized under “Puja” (Worship) and specifically belonging to the sub-category of “Dukhha” (Sorrow). Originally published in Gitanjali in 1910, this piece of poetry evoked deep emotions. The rhythm of Ektaal resonated throughout Ei korechho bhalo, nithuro hey. Ektaal is an Indian classical taal or rhythm pattern with twelve beats distributed evenly over four divisions. This Rabindra Sangeet is set to the cadence of raga Yaman (Iman)-Kalyan. A raga is very identical to the Western classical modes. Modes in music are scale-like patterns that can begin on any note of the scale, not just the root note. Each mode like each raga has a distinct characteristic. Yaman Kalyan is an Indian classical raga. Traditionally, raga Yaman is a quiet, calm, and peaceful tune, while being joyous and vibrant. Yaman Kalyan moves similarly to Yaman in tunes, except that in the descent notes of a chosen scale. Notation for this composition can be found in Geetalipi and Swarabitan. The notation was crafted by Surendranath Banerjee.
Tagore starts the song by addressing a person who has done something well but is ruthless. The well-done deed has started burning a flare in the bard’s heart. His incense without burning does not spread any fragrance. His lamp does not emit any light without getting kindled. He is grateful that the other person’s battering is a gift of touch to him when his mind is ignorant. The bard is found surrendering in the last two lines of the song. He is asking for more suffering if he does not behold that person in the darkness of delusion and shame by the force of thunder. He wants his blemishes to be released into fire.
The Rabindra Sangeet has a metaphorical significance. People get materially richer by getting blessings from the divine. But God’s special blessing is to make people suffer so that they come to their senses, surrender and become morally sound, if not spiritual. An ignited flame in the heart is symbolic of the advent of divine presence in his life. According to Chapter 18, Verse 61, Bhagavad Gita, the supreme entity lives in the hearts of all living beings. The incense and lamp of the poet do not emit light or fragrance without burning because the mind continues to identify the self with the ego, the sense of I.
According to Chapter 14, Verse 8 of the Bhagavad Gita, all living creatures are deluded as a result of ignorance. Tagore’s preoccupation with the Bhagavad Gita is evident here as he does not want to be ignorant. According to Chapter 18, Verse 62 of the Bhagavad Gita, by surrendering one’s entire existence to God, one shall achieve full peace and liberation. Asking God to use upon him the force of thunder so that his blemishes vanish is a moment of surrender to the divine. In this case, the usage of thunder surpasses the mere idea of an Indian or Christian God because God’s ruthlessness here enlightens.
